No song proves this better than “Grinding Halt” from . OUT NOW - AVAILABLE ON DELUXE BOX HARDBOOK DIGITAL STREAM. Few pop songs have ever dismantled gender stereotypes so cuttingly. The fragmented, repetitive lyrics, centered around the refrain, “No people,” are the closest the band ever got to Gang Of Four-style critiques of capitalism; Robert Smith’s amphetamine-y riffs exude anxiety; then-bassist Michael Dempsey displays the R&B/punk rhythmic and melodic tricks he’d build upon once he left the group for his decidedly more straightforward second band, The Associates. Come the 15th encore there have been Cure gigs that felt like they’d lasted that long, but it turns out that’s actually the span of their entire career. There are plenty of great ones to choose from, and to go out on a happier note than “Disintegration,” we’ve chosen “2 Late,” the B-side to 1989’s “Lovesong” single. Despite the otherwise cheery vibe, Smith has rarely sounded this deranged: when he sings “Going under slowly,” you can actually hear it happening. The Cure edged into new territory with Wild Mood Swings, but nevertheless drew scorn from certain quarters because it eschewed goth rock for pop, both pure and twisted.For 2000's Bloodflowers, Robert Smith decided to give the people what they wanted: a classic Cure album, billed as the third part of a trilogy begun with Pornography and continued with Disintegration. The heartbreaking title track amounts to a suicide note, with Smith leaving hints like, “I never said I would stay to the end,” and “It’s easier for me to get closer to heaven than to ever feel whole again.” He put it even more blatantly in an interview: “‘Disintegration’ is obvious, it’s my scream against everything falling apart, and my right to quit with it when I want to.” Everything about the music— Gallup’s dead-eyed bassline, Williams’ krautrock-style locked groove, the climactic keyboard stabs, the broken glass sound effect, the ghostly choir— has the makings of a final stand. Smith unlocks an air-raid siren guitar sound reminiscent of his idol Jimi Hendrix’s “Star Spangled Banner,” a chaotic, abrasive tone which would also crop up in The Smiths’ “How Soon is Now?” and My Bloody Valentine’s “Only Shallow” a few years later. “Dressing Up” is a welcome departure from the album’s loose animal theme (“Shake Dog Shake,” “Birdmad Girl,” “The Caterpillar,” “Piggy in the Mirror,” Bananafishbones”) and dubious flirtations with mismatched international sounds. Set the scene better than this opening couplet, I dare you: “Two pale figures ache in silence/Timeless in the quiet ground.” 1981’s is the midpoint between the Cure’s goth awakening on , and while its highs aren’t quite as high as those on the albums that bookend it, “The Funeral Party” showcases the increasingly moody, indulgent direction the band was taking.The imagery— “Ambition in the back of a black car,” “Creeping up the stairs in the dark,” “A piece of new meat in a clean room,” “A tiger thrashing in the water”— is violent and bleak. The synth glitters like the walls of an ice cavern, pitch-shifting percussion plinks sound like brittle icicles shattering on the ground, the toms and snare rumble like a far-off avalanche. And May 2nd marked the 30th anniversary of their eighth, eight albums over a 10-year period is an impressive enough feat, but The Cure aren’t just any run-of-the-mill band, and their first eight LPs aren’t just any run-of-the-mill albums. Instead, their music granted us a window into the painstaking inner-workings of each metamorphosis. To mark the occasion, the Crawley noir rock legends and Made up of heavy breathing and hyperactive funk, ‘Close To Me’ is the epitome of asthmatic ADD disco, and thus in a league entirely of its own.The proto-’Friday’, the euphoric, freewheeling jangle of ‘In Between Days’ found The Cure out-C86ing C86 before C86 was even a thing.Ah, those innocent days when The Cure were basically just The Undertones in lipstick. !”, the band’s dreadful horndogging at expressing their deep-seated love for funk music. A whole album of this dry, vacuum-sealed sound could stand shoulder-to-shoulder with the best of Wire, The Fall, Swell Maps, or Joy Division.I was recently playing the Cure at the restaurant where I work when a gruff dude at the bar remarked, between munches of his Reuben, “In my day, the only people that listened to this band were girls and cave-dwellers.” Besides gifting me a solid new term for goths, this guy displayed the exact sort of heteronormative bias that the Cure skewered on their immortal second single, “Boys Don’t Cry.” 20 years later, this jittery anthem about a teen reckoning with his feelings inspired the title of the film adaptation of the tragic tale of trans hero Brandon Teena. Every mood that Robert Smith’s ever explored—longing, dejection, bitterness, sweetness, sensitivity, infatuation, melodrama—is contained within this song. View The Cure song lyrics by popularity along with songs featured in, albums, videos and song meanings.
has plenty more impressive feats of composition— Simon Gallup’s bass odyssey “The Hanging Garden,” the impressive slow-build of “A Strange Day,” the experimental title track. The Cure celebrate their 40th anniversary with a massive Hyde Park show in July 2018, here are the ten tracks we most hope they'll break out. ’ emotional heft and tight musicianship, it lacks the widescreen scope of the Cure’s best music. added violent, angry red to the Cure’s moody color palette, doled out the color’s lustier sub-hues. It doesn’t get more goth than straight-up titling your song “The Funeral Party.” The song evokes a posthumous reckoning, conveying catharsis just as much as mourning with its billowing curtains of building melodies. Back then this was merely another New Wave cracker, now we instinctively sense the darkness in its quivering pop lip.Essentially Lionel Ritchie’s ‘Hello’ for people prone to hugging themselves in corners while rocking back and forth battling long-standing self-image issues.
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